Though originally priced at $2500/pair, the CLS has been considerably revised since 1986 and now costs some $3500/pair in its CLS II incarnation, leaving the Sequel II to occupy the $2500 position in MartinLogan's product lineup. For a speaker to attempt greatness and fail, even by a little, is perhaps more disturbing than one that aims lower and succeeds. One of the most eye-catching loudspeakers I had seen, the CLS promised much in the way of sound quality, which is why I was ultimately a little disappointed. It was therefore with a good deal of respect that I approached the job of reviewing the original MartinLogan CLS full-range electrostatic loudspeaker some three years ago ( Vol.9 No.7). And to produce an electrostatic loudspeaker that is also possessed of great visual beauty is indeed a bonus. For a new electrostatic design to produce a sound at all represents a great triumph for its progenitor, let alone having it sound musical. Every aspect of the design, no matter how apparently insignificant, has to be created afresh from first principles. For these farsighted engineers, there is no standing on the shoulders of others, there is no recourse to tried and tested combinations of other manufacturers' drive-units. Yet if there were to be an aristocratic subset of those dreamers, it would be those who have taken upon themselves the burden of producing electrostatic loudspeakers. Something takes hold of a manthe fact that loudspeaker designers are all men must be significantand he wrestles with recalcitrant wood, arcane drive-units, and sundry coils, capacitors, and cables, to produce something which will be individual in its sound quality yet inherently more true to the original sound.
Now, with their new shows heading to the stage, ethnic groups will finally be given the floor to tell their own stories.Loudspeaker designers are dreamers. “I knew nothing about your religion,” the producer told him. “He said, ‘The only thing I knew about your religion at all was from what I what I saw in The Book of Mormon musical or Tony Kushner’s Angels in America,’” Nelson recalled. it dealt with human issues and real-life characters.” “In his estimation,” Nelson said, “this could have as much universal appeal as Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ: Superstar, because. Named 1820: The Musical, the show premiered in Utah over the summer, and a Broadway producer is interested in the project. “There is a definite message coming out of The Book of Mormon musical, and out of our musical there is a definite message, which says, ‘Take a look again, see for yourself, try to figure this out,” Nelson stated. “They make fun of almost everything we believe in, and what we have tried to do here is say, ‘look, these are things that are important to us spiritually,’” explained Nelson. Listening to audiences laugh at sacred Mormon tenets during a performance of The Book of Mormon “ hurt my heart,” admitted Brigham Young University professor George Nelson, and he committed to write his own musical about Joseph Smith, the founder of The Church of Jesus Christ of Latter-day Saints. The new show is a part of a larger trend of ethnic groups who feel misrepresented in Broadway musicals choosing to write their own musicals to reclaim their stories. “Latinos need new roles and stories that speak to a Latino public (and beyond), so one would hope that the sequel represents a significant departure from West Side Story,” which is “an outdated narrative filled with stereotypes,” commented Rutgers professor Camilla Stevens.
0 kommentar(er)
